Tom Stoppard's Rock 'n' Roll: from New York to Northwest

Ben Harris (The Piper) in Rock 'n' Roll at ACT- A Contemporary Theatre - photo credit: Chris Bennion

Tom Stoppard is known for his highly intellectual, cast-heavy, historical British plays, and taking one on is always a feat. ACT Theatre is currently producing his latest work: Rock 'n' Roll, which premiered in London, and then New York City with a notable cast including Brian Cox and Rufus Sewell.

I have a confession to make: I have seen both productions, and I like ACT's more. ACT's "theatre in the round" structure and intimate seating make it ideal for this kind of epic ensemble show. At no point does it become impersonal or distant. The cast sparkles in this intense production. Nearly every actor in the New York production pales by comparison, with the notable exception of Mr. Sewell, who is a joy to watch onstage.

Stoppard's work is dense and difficult for those who don't have a PhD in Czech history and the Velvet Revolution, but the program has done nice work with the dramaturgy. For those of us who may not have been around in the '60's and are a little fuzzy on the relationship between Syd Barrett and Pink Floyd, this proves quite useful. The production is also very good at distinguishing time and place, using creative means to illustrate the years (which span 1968 to 1990) and then cement it in our minds with setting, costume and the classic rock of the period. The set is creative, as it has to be in a space such as this, with some highly technical visuals that are by and large stunning, although they once or twice provide a technical glitch. The production achieves quick changes with a trap door to bring set pieces in and out. A credenza on a fly system dumps mounds of classic vinyls onto the floor to illustrate the devastation after a raid in Czechoslovakia, getting an audible gasp from the audience as they watch "Venus in Furs" crash to the ground.

The play is a work of many years for Stoppard, who is Czech by nationality, and joined dissenters in the streets and in jail while the Communist party was in power. Rock 'n' Roll, despite its title, is really a play that tracks the metamorphosis of humans from the free love of the '60's to the fall of the Berlin Wall, which effectively ended European Communism. The text frequently references figures such as Vaclav Havel, a dissenting playwright of the period who spent much of his time in jail, and Plastic People of the Universe, a rock band that originated in Prague and also did time for their non-comformity to the Communist regime.

Matthew Floyd Miller (Jan) and Anne Allgood (Esme) in Rock 'n' Roll at ACT - A Contemporary Theatre - photo credit: Chris Bennion

The cast is massive, as in all Stoppard's play, featuring 19 characters, played by 11 different actors in ACT's production. Of note are the performances by Anne Allgood, who plays both the cancer ridden mother, Eleanor, and ex-hippy daughter, Esme. She is equally touching and evocative in both rolls, displaying real breadth as an actress. Denis Arndt plays Max, the eternal and idealistic communist that teaches at Cambridge. His character ages 20 years in the play, and he turns in a credible and charming performance at each stage of life. Alexandra Tavares as Lenka is cunning, flirtatious and interesting. Peter Crook as Ferdinand plays both the passion and cynicism of his character beautifully, contrasting nicely with the more-or-less apathetic Jan (played by Matthew Floyd Miller) that can't be bothered with petitions and dissidents and just wants to be left to enjoy his music.

Despite the length (nearly 3 hours) and the weight of the material, this production is alive with interesting characters, real meaning, and - let's face it - really awesome music. It is a joy both to watch and to stimulate discussion. 

ACT's production will run until November 8, 2009. In photo: Denis Arndt (Max), Anne Allgood (Eleanor), and Alexandra Tavares (Lenka) in Rock 'n' Roll at ACT - A Contemporary Theatre - photo credit: Chris Bennion

For more info: Visit the website. Read Audrey Gervasi's review.